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Internal Cards
HDSP 9652
HDSPe MADI FX
HDSPe MADI
HDSPe AES
HDSPe RayDAT
HDSPe AIO Pro
MADIface XT
MADIface USB
MADIface Pro
Babyface Pro FS
Fireface UCX
Fireface UC
Fireface UFX II
Fireface UFX+
Digiface USB
Digiface AVB
Digiface Dante
AVB Tool
Micstasy
M-32 / M-16 AD
M-32 / M-16 DA
M-32 Pro
M-1610 Pro
ADI-8 QS
ADI-8 DS Mk III
ADI-2 FS
ADI-2-Pro FS R BE
ADI-2-DAC FS
ADI-192 DD
ADI-4 DD
Madi Solutions
ADI-642
ADI-6432/ADI-6432R
ADI-6432R BNC
MADI Router
12Mic
DMC-842
OctaMic XTC
OctaMic II
QuadMic II
ARC USB
MRC Remote
Time Code Option
DTOX-16
RME Audio Technology explained
TotalMix FX for Beginners - Video Series
Since 2001 TotalMix added unlimited routing and mixing to RME's audio interfaces. Its unique capability to create as many independent submixes as output channels available turned it into the most flexible and powerful mixer of its kind.
With supported hardware, TotalMix FX includes a complete effects system, which not only adds flexibility to the recording chain, but also makes latency saddled software solutions obsolete. TotalMix FX (FX on supported cards) can completely replace an external mixer, enabling the creation of multiple latency-free monitor mixes with EQ, Dynamics, Reverb and Delay for any outputs incl. main monitors and headphone mixes for musicians.
TotalMix FX is included as part of the driver, so after you've downloaded and installed the latest driver and connected your interface, the mixer window will open automatically. If you're new to TotalMix FX, you may find the number of options available to you somewhat overwhelming at first. Rest assured though, once you get to grips with the basics, you'll find TotalMix FX to be simple, intuitive and incredibly powerful.
Check out this Video Series all about the amazing TotalMix FX features:
#01 Routing & Layout Basics
#02 Snapshots & Workspaces
#03 Customizing the Channel Layout
#04 Recording with RME Audio Interfaces
#05 Headphone Mix
#06 Recording FX with Loopback
#07 Monitor Mix
#08 Trim Gains
#09 Channel Groups
#10 Free vs. Submix Mode
#11 Adding FX
#12 Mono/Stereo
#13 DAW Mode
#14 DSP Effects Overview
RME technology explained
48K Frame
Most often used MADI format. Supports up to 64 channels at up to 48 kHz.
Frame format for up to 32 channels at up to 96 kHz. The advantage of this format against 48K frame using S/MUX: the receiver can detect the real (double) sample rate on its own, immediately. With 48K Frame and S/MUX, the user has to set up the correct sample rate for all connected MADI devices manually.
AC (Alternating Current)
Electrical current that alternates direction (positive to negative). AC is often contrasted with direct current (DC), commonly produced by batteries.
Alesis Digital Audio Tape or ADAT is a magnetic tape format used for the simultaneous digital recording of eight analogue audio or digital audio tracks at once.
"ADAT" is currently used as an abbreviation for the ADAT Lightpipe protocol, which transfers 8 tracks in a single fiber optic cable. The ADAT cable standard is no longer strictly tied to ADAT tape machines, and is now utilized by analog-to-digital converters, input cards for digital audio workstations, effects machines, etc. One of the original benefits of utilizing ADAT versus S/PDIF or AES3 was that a single cable could carry up to eight channels of audio. (AES10 (MADI) can now carry up to 64 channels.)
Audio Video Bridging (AVB) is a common name for the set of technical standards developed by the Institute of Electrical and Electronics Engineers (IEEE) Audio Video Bridging Task Group of the IEEE 802.1 standards committee.
AVB listener
An AVB endpoint that receives an audio stream from a talker.
AVB talker
An AVB endpoint that streams audio to one or more listeners.
AVDECC
IEEE standard for device discovery and control. A protocol that is used by manufacturers to control various settings of AVB endpoints.
AVDECC Controller
A software that discovers AVB entities and allows the user to access their settings and connect them. Different AVDECC Controllers from different vendors can be used at the same time in the same network.
Balanced Line
A pair of ungrounded conductors whose voltages are opposite in polarity but equal in magnitude. Balanced lines reduce interference from external sources like radio frequencies and light dimmers.
Literally, bandwidth is a frequency span. Beyond that definition, its meaning will depend somewhat on context. For example, the bandwidth of a bandpass filter is the upper cutoff frequency minus the lower cutoff frequency (cutoff frequency being the filter's -3 dB point). The audio bandwidth is generally given as 20 Hz to 20,000 Hz, although there are harmonic components of audio that extend far above the 20k point. In most situations where bandwidth is given as an audio spec, the wider the frequency range the better. Be sure that when comparing bandwidth on different devices, that the same spec is being expressed. For example, some effects devices cite their bandwidth spec based on the dry, or unprocessed signal, while others give the bandwidth of the actual processed sound. These difference between these two specs (both listed as "bandwidth") can be substantial!
The lower end of the frequency range, from about 20 Hz to about 300 Hz.
'Boost' in audio circles, means an increase in amplitude or gain. Often times the specific reference is in regard to equalization. For example, when an engineer says they are going to "boost 4k", this is shorthand for increasing the gain of an equalizer at 4000Hz. In essence, to boost is to increase. This does not apply to merely choosing a higher frequency on an equalizer, since no change occurs until the gain of that frequency is increased, or "boosted." The opposite of boost in equalization is 'Cut', not to be confused with Cut and Paste. Cut refers to a decrease in gain at a particular frequency. A common phrase using both terms would be, "I boosted the kick drum at 125, and cut it at 400."
Buffer Memory
Temporary RAM used in some computer operations, sometimes to prevent a break in the data stream when the computer is interrupted to perform another task.
Jargon often used in the computing world to refer to a fault in software (and sometimes hardware) that causes a malfunction. Bugs may range from minor annoyances that are easily worked around to crippling problems. Sometimes a software program can have so many problems it gets characterized as "buggy."
In audio (not transportation) terms, a Bus is a point in a circuit where many signals are brought together. For example: Most electronic items have a Ground Bus where all of a device's individual ground paths are tied together. In mixers, we have Mix Busses, where multiple channels' signals are brought (or blended) together; Aux Busses, where feeds from channels are brought together to be routed to an external processor or monitor send, etc. In general, the more busses a mixer has, the more flexible the routing capabilities of that mixer will be.
Bus Powered
A device that can operate off of power supplied via a USB, Firewire, Thunderbolt, or other bus connection.
Bypass refers to allowing a signal to pass through a device without affecting (processing) the signal, i.e., "dry". The signal is, however, affected by any input buffers, which can impart a character or slightly degrade the signal. This differs from true bypass, as true bypass allows the signal to effectively be hardwired to the output when the effect isn't engaged.
It's a tradeoff, though. A device that bypasses rather than "true" bypasses does have some advantages, since the buffers act as input amplifiers, which allow for longer cable runs and reduce the effects of loading when ganging devices such as guitar pedals together. The downside is that even when the effect isn't engaged (when it's "bypassed"), the tone may still be slightly altered by passing through the buffer stage.
In digital data bits are arranged into what is known as "words." A byte is a binary word that is 8 bits long. A kilobyte (Kb) contains 1024 bytes (not 1000). This is because 1024 is a power of 2, which is the basis for binary digital data.
C-weighting
A type of weighting curve designed into filters for equipment measuring sound output levels. The C-curve is basically "flat," with -3 dB corners of 31.5 Hz and 8 kHz, respectively. It is designed to loosely correspond to how humans perceive sound at higher volume levels as indicated by curves such as the Fletcher Munson Curves.
CardBus are PCMCIA 5.0 or later (JEIDA 4.2 or later) 32-bit PCMCIA devices, introduced in 1995 and present in laptops from late 1997 onward. CardBus is effectively a 32-bit, 33 MHz PCI bus in the PC Card form factor. CardBus supports bus mastering, which allows a controller on the bus to talk to other devices or memory without going through the CPU.
Short for Category 5, a common type of twisted pair cable. Cat 5 cable is used in many networking environments for high speed data transfer. It is the current standard (replacing the former standard, Cat 3 cable) for Ethernet and fast Ethernet networks, where it is generally terminated with an RJ-45 type connector (similar to the connector many telephones use). The "category 5" standard states the twisted pairs must have at least 8 twists per foot. There are other category standards with different specifications, but Cat 5 is the most widely known and used at the consumer level right now. Most modern computers have RJ-45 type connectors built in to them for networking connections. Since this configuration has become such a common standard, component parts are widely available and inexpensive, which has caused even more widespread usage. As such we are beginning to see these connectors and cables used on more and more music equipment for certain types of communication.
Cat 6 is the highest quality twisted-pair copper cable currently available. Cat 6 has larger copper conductors than Cat 5 (Category 5, also referred to as "digital cable"), which is used for Ethernet and fast Ethernet networks, but uses the same J-45 connector. The only cable to provide a better signal quality than Cat 6 is fiber optics.
Channel Separation
The crosstalk, or bleed of audio signals from one channel to another. The amount of channel separation is inversely related to the item's crosstalk spec; i.e. a low crosstalk spec indicates high channel separation.
In a personal computer, the integrated circuit (IC) chips that define the functions of a CPU. The chipset is in charge of controlling the flow of instructions to the CPU as well as defining the available buses. Chipsets are normally integrated - soldered onto the motherboard.On early personal computers these functions required as many as 30 individual chips. Current PCs have consolidated all these circuits into only two or three chips.
Intel (Pentium) and AMD-based computers have two distinctive chips. The northbridge typically handles communications between the CPU, RAM, and AGP or PCI Extended graphics cards. Some northbridge chips also contain integrated video controllers. The southbridge chip normally defines and controls the operation of other buses and devices, including the PCI bus,
the PS/2 interface for keyboard and mouse, the serial port, the parallel port, and the floppy drive controller.
The chipset used by a given manufacturer of motherboards can have a significant impact on the way in which that board (and the resulting computer that uses it) will interact with various peripheral devices. Some hardware, particularly more exotic audio recording hardware, can be pretty picky about chipsets and their associated data protocols.
A type of amplifier design. When an amplifier's stage devices are passing current at all times, including when the amplifier is at idle (no music playing), whether the amplifier is single ended or push-pull, the amplifier is said to be biased in Class A. Because the current is flowing at all times, an input signal causes the current to be immediately diverted to the speakers, and therefore, the sound is very "fast". In the case of a push-pull amplifier, there is also less crossover distortion when the signal passes from the positive to the negative or negative to positive, since each side of the push-pull section is already "on". If all stages of the amplifier are biased in Class A, and the amplifier operates in Class A to full output (enough current flowing at idle that could be required for full output), it is said to be a "Pure Class A" amplifier. Pure Class A designs are understandably expensive to build and are usually only found in high-end audiophile equipment.
Class compliant
The latter describes a standard that is natively supported by operating systems like Windows, Mac OSX and Linux. No proprietary drivers are required, the device will be directly recognized.
Background information: http://www.rme-audio.de/download/cc_mode_ucx_e.pdf
A cable consisting of a conducting outer metal tube shield enclosing and insulated from a central conducting core. Often called coax (pronounced co-ax) for short they are used for high-frequency transmission of telephone, telegraph, television, and digital audio signals. The construction of coaxial cable is designed to keep a distance between the inner conductor and the outer shield, which is one factor in determining the impedance rating of the cable. Impedances often become critically important when transmitting high volumes of data at very high rates (frequencies) and various types of coaxial cable are a common way to do this.
The condenser microphone is a very simple mechanical system, with almost no moving parts compared to other microphone designs. It is also one of the oldest microphone types, dating back to the early 1900's. It is simply a thin stretched conductive diaphragm held close to a metal disk called a backplate. This arrangement basically produces a capacitor, and is given its electric charge by an external voltage source. This source is often phantom power, but in many cases condenser mics have dedicated power supply units. When sound pressure acts on the diaphragm it vibrates slightly in response to the waveform. This causes the capacitance to vary in a like manner, which causes a variance in its output voltage. This voltage variation is the signal output of the microphone. There are many different types of condenser microphones, but they are all based on these basic principles.
In general this refers to a space - usually an enclosed room, or booth - where the operations of something are handled, the central control point. In radio and television production, this refers to the room that houses the equipment used to bring all the audio and video signals together into a composite signal that's broadcast or recorded. All the different cameras and microphones are fed into video switchers and audio mixers here. Similarly in theater applications, this is generally where all the audio signals are mixed, additional recorded sound effects may be added, and where the lighting is controlled (though these may be in separate control rooms). In theater it is sometimes referred to as a "Bio-Box," which comes from the Greek word "Bios," or Way of Life. In a recording studio, the control room has a similar function. It's where the engineers and producers sit and take care of making sure good signals get recorded as well as controlling, in many cases, what the band hears during a performance. Ideally, control rooms are designed to be carefully regulated in terms of sound isolation and accurate sound reproduction, as this is where the final decisions are made about how a recording will sound.
On some audio equipment - typically mixers - there are control room outputs and associated control room level (volume) and mix controls. This pertains to sending signals to the control room speakers, which are usually a specially selected set of very accurate speakers designed to enable producers and engineers to hear a true reference of the audio signals being recorded and mixed. In some cases these speakers are custom designed to properly react with the control room space. In other cases a control room space may be built with a specific set of speakers (and other equipment) in mind.
CoreAudio refers to the built in audio subsystems of Mac OS X. Similar in concept to the Sound Manager in Mac OS 9 and previous Mac OS', CoreAudio handles all audio communication for the system itself, and any applications written to support it. This new system is more than just a rewrite of Sound Manager, and includes many great new advances. CoreAudio now supports multichannel audio, basically as many channels as you can plug in devices for. With the advanced setup utilities in Mac OS X 10.2 (a.k.a. Jaguar) you even have the capability to select which channels from the system go to which outputs on your available hardware interfaces. CoreAudio is also ready for the future with the capability to support up to 192 kHz audio at any bit rate from 16 bit to 32 bit (yes you read that right, you can do 192 kHz at 32bit).
Central Processing Unit: the silicon chip at the center of a computer system.
Cue Mix
Term used interchangeably for monitor mix or headphone mix.
D/A Converter - DAC - Digital Analogue Converter
Short for Digital to Analog Converter. Also often abbreviated DAC, which is often pronounced "dack." A DAC is the opposite of an A/D converter. It basically reassembles the digital one's and zero's back into an analog waveform. One of the key ingredients in this process is filtering, which is what makes the final analog result a smooth (as opposed to digitally stair stepped) waveform. DAC's come in a variety of configurations and price ranges.
A wiring scheme in which, for example, device A is wired to device B, device B is wired to device C, etc. All devices may receive identical signals or, in some instances, each device in the chain may modify one or more signals before passing them on. Common Daisy Chain examples would be MIDI devices connected together utilizing their THRU connections; SCSI connections with the last device terminated; certain computer network schemes; reference clock for digital studio devices; etc.
deciBel. Unit used to express the relative levels of two electrical voltages, powers or sounds.
dB/Octave
A means of measuring the slope of a filter. The more dBs per octave, the sharper the filter slope.
dBFS
A dB reference level equal to "Full Scale" or "Full Code." It is used in specifying A/D and D/A audio data converters, but also increasingly used to refer to signal levels in the digital domain since they are almost always referenced to the full code value. Full scale refers to the maximum voltage level possible before "digital clipping," or digital overload of the data converter. The actual Full Scale voltage is fixed by the internal data converter design, and varies from model to model. In digital metering a level of 0 dB is ostensibly equal to 0 dBFS, but in reality there may be some "fudge factor" built in either by design or by accident. Nevertheless the two can be thought of as the same thing at a practical level.
Variation on dB referenced to 0dB = 1mW into 600Ohms.
Variation on dB referenced to 0dB = 0.775 volts.
Variation on dB referenced to 0dB = 1 volt.
The progressive reduction in amplitude of a sound or electrical signal over time. In the context of a synthesizer's ADSR envelope shaper, the Decay phase starts as soon as the Attack phase has reached its maximum level. In the Decay phase, the signal level drops until it reaches the Sustain level set by the user. The signal then remains at this level until the key is released, at which point the Release phase is entered.
A DHCP Server hands out IP addresses to network devices. Every consumer oriented WiFi Router has a default DHCP Server handing out private addresses, usually 192.168.0.x. The IP address of a network device must be known in order to communicate with it on Layer 3.
Digital Audio Workstation - DAW
Digital Audio Workstations, also known as DAWs, are common in almost any studio these days. They are typically defined as having some ability to record, manipulate, and play back audio recordings or samples. In their early days Digital Audio Workstations were primarily considered editing stations. Material was taken from the primary recording media (usually tape) and dumped into one of these systems for editing, and then returned to the original media for the remainder of the project. Nowadays Digital Audio Workstations can act as an entire recording studio with all mixing, processing, and mastering on one computer.
An audio input designed to accept digital signals. A variety of digital input formats are in use, both optical and wired, including AES/EBU, S/PDIF, ADAT optical, MADI, and more.
A mixing board or console that uses DSP - digital signal processing - to combine and process audio signals. Digital mixers generally offer extended feature sets compared to analog mixers, such as built-in automation and preset memories, onboard digital effects processing, digital I/O, and in some cases, even the ability to function as an audio interface when used with a computer.
An audio output designed to send out digital signals. A variety of digital output formats are in use, both optical and wired, including AES/EBU, S/PDIF, ADAT optical, MADI, and more.
Direct Box - DI
Often abbreviated DI (for direct insertion), a device commonly used to convert high impedance unbalanced signals from a stage instrument (like a bass or keyboard) into a low impedance balanced signals. This puts the signal at the proper voltage level for the mixer and prevents the instrument from becoming loaded down with too low impedance, which could cause tonal shifts and distortion. It also allows the signal to be transmitted over long lengths of cable. They are always used in live sound to get a signal out of an instrument on stage out to the mixing board, which can be as much as 500 feet away. A simple direct box consists only of a small transformer, but more sophisticated designs employ electronic gain stages that more closely resemble the input section of a modern instrument amp. They may also have some combination of ground lift switches, equalization switches, level matching switches, isolated line outputs, and more.
Distortion is ANY deviation in the shape of an audio waveform between two points in a signal path. Given that understanding, just about any audio process (equalization, compression) are all forms of distortion. Some just happen to be (hopefully) good ones. Other kinds of distortion (harmonic distortion, Aliasing, clipping, crossover distortion) are considered undesirable, though at times they are put to good use and considered a good thing.
Double Speed
Doubles the original sample rate range, in order to achieve higher audio quality and improved audio processing. 64 kHz is practically never used, 88.2 kHz is quite rare in spite of certain advantages. 96 kHz is a common format. Sometimes called Double Fast.
Double Wire
Before 1998 there were no receiver/transmitter circuits available that could receive or transmit more than 48 kHz. Higher sample rates were transferred by splitting odd and even bits across the L/R channels of a single AES connection. This provides for twice the data rate, and hence twice the sample rate. A stereo signal subsequently requires two AES/EBU ports.
The Double Wire method is an industry standard today, however it has a number of different names, like Dual AES, Double Wide, Dual Line and Wide Wire. The AES3 specification uses the uncommon term Single channel double sampling frequency mode. When used with the ADAT format, the term S/MUX is commonly used. Double Wire not only works with Single Speed signals, but also with Double Speed. As an example, Pro Tools HD, whose AES receiver/transmitter only work up to 96 kHz, uses Double Wire to transmit 192 kHz. Four channels of 96 kHz turn into two channels of 192 kHz.
Piece of software that handles communications between the main program and a hardware peripheral, such as a soundcard, printer or scanner.
Digital signal processing (DSP) is the mathematical manipulation of an information signal to modify or improve it in some way. It is characterized by the representation of discrete time, discrete frequency, or other discrete domain signals by a sequence of numbers or symbols and the processing of these signals.
The goal of DSP is usually to measure, filter and/or compress continuous real-world analog signals. The first step is usually to convert the signal from an analog to a digital form, by sampling and then digitizing it using an analog-to-digital converter (ADC), which turns the analog signal into a stream of numbers. However, often, the required output signal is another analog output signal, which requires a digital-to-analog converter (DAC). Even if this process is more complex than analog processing and has a discrete value range, the application of computational power to digital signal processing allows for many advantages over analog processing in many applications, such as error detection and correction in transmission as well as data compression.
Dynamic (Microphone)
A dynamic mic is one in which audio signal is generated by the motion of a conductor within a magnetic field. In most dynamic mics, a very thin, light, diaphragm moves in response to sound pressure. The diaphragm's motion causes a voice coil which is suspended in a magnetic field to move, generating a small electric current. Generally less expensive than condenser mics (although very high quality dynamics can be quite expensive), dynamics feature quite robust construction, can often handle very high SPLs (Sound Pressure Levels), and do not require an external power source to operate. Because of the mechanical nature of their operation, dynamic mics are commonly less sensitive to transients, and may not reproduce quite the high frequency "detail" other types of mics can produce. Dynamic mics are very common in live applications. In the studio, dynamics are often used to record electric guitar and drums.
The range between the loudest and the softest sounds that are in a piece of music, or that can be reproduced by a piece of audio equipment without distortion (a ratio expressed in decibels). In speech, the range rarely exceeds 40 dB; in music, it is greatest in orchestral works, where the range may be as much as 75 dB.
Dynamic range in audio equipment specifications is often confused with signal-to-noise ratio. Where signal-to-noise ratio is widely considered to be the available range between the normal operating level of a device and its noise floor, the dynamic range is the maximum range available, which would imply it is the range from the highest level attainable in a unit down to the noise floor.
In music and sound recording, dynamics also refers to the dynamic range of the material. Audio passages with a large dynamic range are sometimes said to have a lot of dynamics. This is subjective and depends, to some extent, on the span of time between the loudest and softest passages.
Dynamics also refers to the general category of audio equipment designed to modify the dynamic range of audio in some capacity. This would include things like compressors, limiters, expanders, gates, etc. These are sometimes known as dynamics processors. The defining factor is that dynamics processors operate when triggered by a signal or a signal level. They are not a "static", in the sense that equalization is, for example. ("Static" meaning that the effect is applied to the signal to the same degree all of the time, regardless of level or any other dynamically varying factor.)
A generic term for the enhancement or modification of sound by the use of signal processors such as delay, distortion, chorus, reverb, phase shifting, etc.
Effects Return
An input on a mixer or other device intended to receive the output from an effects processor. Of course, such an input is simply a line level input, so it can be used for the output signal from any type of compatible device, not just an effects device.
Effects Send
An aux send or connection used to route signal to an effects processor, such as a delay or reverb.
Abbreviation for Equivalent Input Noise. EIN is a specification we most commonly encounter when looking at microphones and preamps.
Equalization - Equalizer (EQ, EQing)
The process of changing the timbral characteristics of a sound or signal by boosting or cutting the level of various frequencies or frequency ranges.
A printed circuit board fitted with a contact strip along one edge that allows it to mount into a corresponding slot in a computer. Expansion cards provide specific functionality not offered by the computer's motherboard.
A power supply for a device that is not integrated inside the device itself - the power supply is a separate unit that resides outside the device it powers.
The IEEE 1394 interface is a serial bus interface standard for high-speed communications and isochronous real-time data transfer. It was developed in the late 1980s and early 1990s by Apple, who called it FireWire. The 1394 interface is comparable to USB though USB is more common.
FireWire 400 (IEEE 1394-1995)
The original release of IEEE 1394-1995 specified what is now known as FireWire 400. It can transfer data between devices at 100, 200, or 400 Mbit/s full-duplex data rates (the actual transfer rates are 98.304, 196.608, and 393.216 Mbit/s, i.e., 12.288, 24.576 and 49.152 megabytes per second respectively. These different transfer modes are commonly referred to as S100, S200, and S400.
FireWire 800
IEEE 1394b-200228 introduced FireWire 800 (Apple's name for the 9-conductor "S800 bilingual" version of the IEEE 1394b standard). This specification and corresponding products allow a transfer rate of 786.432 Mbit/s full-duplex via a new encoding scheme termed beta mode. It is backwards compatible with the slower rates and 6-conductor alpha connectors of FireWire 400.
A field-programmable gate array (FPGA) is an integrated circuit designed to be configured by a customer or a designer after manufacturing.
The amount of preamplification in a microphone preamplifier before is sent in the rest of the audio chain.
See noise gate.
A headphone amplifier is an audio amplifier designed particularly to drive headphones instead of loudspeakers.
Hi-Z
High impedance. The letter Z is often used as shorthand for the word impedance, e.g. Hi-Z or Low-Z. Hi-Z inputs are commonly used to connect an instrument (e.g. guitar) directly.
High pass filter - High pass
A high-pass filter (HPF) is an electronic filter that passes high-frequency signals but attenuates (reduces the amplitude of) signals with frequencies lower than the cutoff frequency.
Host computer - Host
The computer which is connected to the Audio interface and running the correct driver software.
Short for Input/Output.
Input Sensitivity
Sensitivity is the minimum strength of an input signal required to produce a specified output.
InstantMemory™
All RME Premium Line units support InstantMemory™, a feature that stores your setup automatically during instances of power blackout, or during shutdown for "next day" use. All the device's settings are stored and recalled automatically during power down/up.
Latency refers to a short period of delay (usually measured in milliseconds) between when an audio signal enters and when it emerges from a system. Potential contributors to latency in an audio system include analog-to-digital conversion, buffering, digital signal processing, transmission time, digital-to-analog conversion and the speed of sound in air.
Latency compensation
Process that place in a piece of software (DAW) to compensate the time delay caused in an Interface, plugins and other hardware I/O.
Latency-free Monitoring
Monitoring an audio signal without any latency or delay.
Line level is the specified strength of an audio signal used to transmit analog sound between audio components such as CD and DVD players, TVs, audio amplifiers, and mixing consoles.
Line levels and their approximate nominal voltage levels
Use Nominal level Nominal level,
VRMS Peak Amplitude,
VPK Peak-to-Peak Amplitude,
Professional audio +4 dBu 1.228 1.736 3.472
Consumer audio -10 dBV 0.316 0.447 0.894
M/S Stereo, M/S processing, M/S technique: Mid/Side stereophony, Mid-Side Stereo
This coincident technique employs a bidirectional microphone (with a Figure of 8 polar pattern) facing sideways and a cardioid facing the sound source. The capsules are stacked vertically and brought together as closely as possible, to minimize comb filtering caused by differences in arrival time.
The left and right channels are produced through a simple matrix: Left = Mid + Side, Right = Mid - Side ("minus" means you add the side signal with the polarity reversed). This configuration produces a completely mono-compatible signal and, if the Mid and Side signals are recorded (rather than the matrixed Left and Right), the stereo width (and with that, the perceived distance of the sound source) can be manipulated after the recording has taken place.
TotalMix FX has this function integrated in every stereo input/software channel, which allows for easy monitoring of M/S input signals.
Multichannel Audio Digital Interface, MADI or AES10 is an Audio Engineering Society (AES) standard electronic communications protocol that defines the data format and electrical characteristics of an interface that carries multiple channels of digital audio. The AES first documented the MADI standard in AES10-1991, and updated it in AES10-2003 and AES10-2008. The MADI standard includes a bit-level description and has features in common with the two-channel format of AES3. It supports serial digital transmission over coaxial cable or fiber optic lines of 28, 56, or 64 channels; and sampling rates of up to 192kHz (S/MUX4) with resolution of up to 24 bits per channel. Like AES3 or ADAT it is a uni-directional interface (one sender and one receiver).
Matrix Mixer
A kind of mixer which allows you to route/mix any input to any output. TotalMix FX is a Matrix mixer.
Mic Level
When sound hits the diaphragm of a microphone very low voltage signals are produced. On a dynamic microphone these signals are typically around 1.5 millivolts. For a more sensitive microphone the voltage would be more like 70 millivolts.
These signals must be amplified to line level, where they are more easily manipulated by other devices such as mixing consoles and tape recorders.
Microphone preamplifier - Microphone preamp
A microphone preamplifier is a sound engineering device that prepares a microphone signal to be processed by other equipment. Microphone signals are often too weak to be transmitted to units such as mixing consoles and recording devices with adequate quality. Preamplifiers increase a microphone signal to line level (i.e. the level of signal strength required by such devices) by providing stable gain while preventing induced noise that would otherwise distort the signal.
MIDI over MADI
MADI allows for a transmission of 64 audio channels over long distances with a single line - perfect, but what about MIDI? Be it remote control commands or sequencer data, in practice only a single MADI line might not suffice. Therefore the RME MADI devices also have MIDI I/O port facilities (exception: RME MADI Bridge and MADI Converter). MIDI data, entering at the physical MIDI input, is embedded in the output with the MADI data packages.
At the other end of the MADI line, the MIDI data can be collected at the MIDI output of another ADI-648, ADI-642, ADI-6432, Micstasy, ADI-8QS or HDSP MADI. Technically, every single MADI channel includes several additional bits, containing various information (Channel Status). RME ensures full MIDI data compatibility by utilizing the so often unused User Bit within the MADI stream to transmit the MIDI data.
Multi-mode optical fiber is a type of optical fiber mostly used for communication over short distances, such as within a building or on a campus. Typical multimode links have data rates of 10 Mbit/s to 10 Gbit/s over link lengths of up to 600 meters (2000 feet) - more than sufficient for the majority of premises applications.
A noise gate or gate is an electronic device or software that is used to control the volume of an audio signal. Gating is the use of a gate. Comparable to a compressor, which attenuates signals above a threshold, noise gates attenuate signals that register below the threshold. However, noise gates attenuate signals by a fixed amount, known as the range. In its most simple form, a noise gate allows a signal to pass through only when it is above a set threshold: the gate is 'open'. If the signal falls below the threshold no signal is allowed to pass (or the signal is substantially attenuated): the gate is 'closed'. A noise gate is used when the level of the 'signal' is above the level of the 'noise'. The threshold is set above the level of the 'noise' and so when there is no 'signal' the gate is closed. A noise gate does not remove noise from the signal. When the gate is open both the signal and the noise will pass through. Gates typically feature 'attack', 'release', and 'hold' settings and may feature a 'look-ahead' function.
Conventional PCI is a local computer bus for attaching hardware devices in a computer.
PCI Express (Peripheral Component Interconnect Express), officially abbreviated as PCIe, is a high-speed serial computer expansion bus standard designed to replace the older PCI, PCI-X, and AGP bus standards. PCIe has numerous improvements over the aforementioned bus standards, including higher maximum system bus throughput, lower I/O pin count and smaller physical footprint, better performance-scaling for bus devices, a more detailed error detection and reporting mechanism (Advanced Error Reporting (AER)), and native hot-plug functionality. More recent revisions of the PCIe standard support hardware I/O virtualization.
PCI Expresscard34
ExpressCard is an interface to allow peripheral devices to be connected to a computer, usually a laptop computer. The ExpressCard standard specifies the design of slots built into the computer and of cards which can be inserted into ExpressCard slots. The cards contain electronic circuitry and connectors to which external devices can be connected.
The ExpressCard standard specifies two form factors, ExpressCard/34 (34 mm wide) and ExpressCard/54 (54 mm wide, in an L-shape)-the connector is the same on both (34 mm wide). Standard cards are 75 mm long (10.6 mm shorter than CardBus) and 5 mm thick.
Phantom power, in the context of professional audio equipment, is a method for transmitting DC electric power through microphone cables to operate microphones that contain active electronic circuitry. It is best known as a convenient power source for condenser microphones, though many active direct boxes also use it. The technique is also used in other applications where power supply and signal communication takes place over the same wires.
Quick Boot
For the HDSP MADI and the HDSP AES-32 RME have implemented a boot memory option that activates the card's key settings immediately on power on. Rather than operating in a default mode from the moment the PC is switched on until the driver is loaded, the card will immediately activate the last used sampling rate, master/slave configuration, thus eliminating any start-up noise or problems in the clock network at system start or reboot.
Rackmount Kit
Optional or included hardware that allows a piece of gear to be rack mounted. A rackmount kit typically consists of a set of rack ears that can be attached to the item for rackmounting.
Remote Control via MIDI
All RME MADI devices can be remote controlled via MIDI. ADI-642, ADI-6432, ADI-648, Octamic XTC and the Micstasy and ADI-8QS have their own well documented protocol. All units can be be programmed with their own ID, providing a separated remote control of multiple devices via a single MIDI channel. Via MIDI the complete device status is read and set. This includes all controls and LEDs on the front plate, plus the current MADI input and output state (56/64- channel mode, 48/96 kHz frame). The TotalMixFX software for the MADI cards (HDSPe MADI/MADIface/AES ...) includes complete remote control from any controller supporting the Mackie Control Protocol.
Reverb - Reverberation
Reverberation, in terms of acoustics, is the interpretation of the persistence of sound after a sound is produced. A reverberation, or reverb, is created when a sound or signal is reflected causing a large number of reflections to build up and then decay as the sound is absorbed by the surfaces of objects in the space - which could include furniture, people, and air. This is most noticeable when the sound source stops but the reflections continue, decreasing in amplitude, until they reach zero amplitude.
RS-232 Integration in MADI Networks
The same way that RME devices carry MIDI data along with the MADI data packages, some RME devices (ADI-642, ADI-6432) are capable of transporting RS-232 serial data via the MADI signal.
S/MUX
Since the ADAT hardware interface is limited to Single Speed, the Double Wire method is used for sample rates up to 96 kHz, but usually referred to as S/MUX (Sample Multiplexing). An ADAT port supports four channels this way.
S/MUX4
The Quad Wire method allows to transmit two channels at up to 192 kHz via ADAT. The method is referred to as S/MUX4. Note: All conversions of the described methods are lossless. The existing samples are just spread or re-united between the channels.
S/PDIF - SPDIF
S/PDIF (Sony/Philips Digital Interface Format) is a type of digital audio interconnect cable used in consumer audio equipment to output audio over reasonably short distances. The signal is transmitted over either a coaxial cable with RCA connectors or a plastic optic cable with TOSLINK connectors. S/PDIF interconnects components in home theatres and other digital high fidelity systems. S/PDIF is based on the professional AES3 interconnect standard.
Sample rate range originally used in Digital Audio. Typical applications are 32 kHz (digital radio broadcast), 44.1 kHz (CD), and 48 kHz (DAT).
Standard audio data transfer, where the audio signal's sample rate is equal to the rate of the digital signal. Used from 32 to 192 kHz. Sometimes called Single Wide.
Signal-to-noise ratio (often abbreviated SNR or S/N) is a measure used in science and audio engineering that compares the level of a desired signal to the level of background noise.
In digital audio, the clock frequency is an essential factor, as it creates the correlation between the audio bits and the time reference. Unfortunately, the clock frequency is not always as stable as desired. Small fluctuations of the clock frequency are referred to as "jitter", measured in nanoseconds (ns). They are the natural born enemy of any digital audio transfer. The effects of jitter on the audio signal are many - from a somewhat rough sound quality to diminished treble localisation to clicks and dropouts in extreme cases. To solve these issues, RME have developed a completely new technology for synchronization and jitter suppression in digital audio signals - SteadyClock.
Normally, the circuitry for clock synchronization consists of an analog PLL (Phase Locked Loop) and several quartzes for the various frequencies. Such PLL systems sync very fast, but do not provide jitter suppression. Ceramics filters or special DDS-Chips (Direct Digital Synthesis) define systems with active jitter suppression, but with slower sync speed, and tend to be very costly.
SteadyClock works with only one crystal, an internal clock reference of 200 MHz, and an internal DDS clock generator which resides within the FPGA (Field Programmable Gate Array). Thus the circuitry was optimized for audio transfer, resulting in extremely fast synchronization between 28 and 200 kHz and very efficient jitter suppression.
The SteadyClock technology guarantees an excellent performance in all clock modes. Its highly efficient jitter suppression enables RME devices to refresh and clean up any clock signal, and to provide the clock signal as reference clock at the word clock output. At the same time, analog conversion is performed on a guaranteed level of highest quality, completely independent from the kind and quality of the used reference clock. The cleaned and jitter-freed clock signal can be used as reference clock in any application, so the quality of the external (input) clock doesn't matter anymore.
A switched-mode power supply (switching-mode power supply, SMPS, or switcher) is an electronic power supply that incorporates a switching regulator to convert electrical power efficiently. Like other power supplies, an SMPS transfers power from a source, like mains power, to a load, such as a personal computer, while converting voltage and current characteristics.
RME Premium Line and several Pro Line products use internal switching power supplies. This technology offers several advantages over standard 'linear' regulated power supplies, like worldwide operation with any voltage between 100 and 240 Volts, 50 or 60 Hz. Additionally it is short-circuit-proof, has an integrated line-filter, is fully regulated against voltage fluctuations, and suppresses mains interference. The high efficiency factor keeps the units cool. RME's high frequency design eliminates mechanical hum and induced ground loops.
SyncCheck and ICC
RME's exclusive SyncCheck monitors all input signals and displays their actual state. With Intelligent Clock Control™ (ICC) you keep control of all clocks and sync states.
TDIF
The Tascam Digital Interconnect Format (TDIF) is a proprietary format connector defined by TASCAM that is unbalanced and uses a 25-pin D-sub cable to transmit and/or receive up to eight channels of digital audio between compatible devices. Unlike the ADAT lightpipe connection, TDIF uses a bidirectional connection, meaning that only one cable is required to connect the eight ins and outs of one device or another.
Three-contact versions are known as TRS connectors, where T stands for "tip", R stands for "ring" and S stands for "sleeve". The kind of connector that can be found on headphones.
USB Bus Powered
See Bus powered.
The Windows Driver Model (WDM) - also known at one point as the Win32 Driver Model - is a framework for device drivers that was introduced with Windows 98 and Windows 2000 to replace VxD, which was used on older versions of Windows such as Windows 95 and Windows 3.1, as well as the Windows NT Driver Model.
Wordclock - Word clock - WC
A word clock or wordclock (sometimes sample clock, which can have a broader meaning) is a clock signal used to synchronize other devices, such as digital audio tape machines and compact disc players, which interconnect via digital audio. S/PDIF, AES/EBU, ADAT, and TDIF are some of the formats that use a word clock. Various audio over Ethernet systems use broadcast packets to distribute the word clock. The device which generates the word clock is the master clock.
Word clock is so named because it clocks each sample. Samples are represented in data words.
The XLR connector was invented by James H. Cannon, founder of Cannon Electric in Los Angeles, California (now part of ITT Corporation), and for this reason it was sometimes colloquially known as a Cannon plug or Cannon connector and in Japan as Cannon jack.
The XLR connector is a style of electrical connector, primarily found on professional audio, video, and stage lighting equipment. The connectors are circular in design and have between 3 and 7 pins. They are most commonly associated with balanced audio interconnection, including AES3 digital audio, but are also used for lighting control, low-voltage power supplies, and other applications. XLR connectors are available from a number of manufacturers and are covered by an international standard for dimensions, IEC 61076-2-103.
Zero Latency
No latency. See Latency.
RME USB - Transport audio with lowest latency and industry leading stability
As part of RME's product philosophy, we always further develop and optimize our core technology. RME have paved the way for multichannel audio and were the first to deliver professional performance over USB 2.0.
We place a high level ofattention on the development of reliable, stable, and regularly updated drivers for our products and an unwavering focus on audio quality. This guarantees your RME Audio Interface will be never outdated and always updated. And because RME Audio develops its own interface core, it's not dependent on 3rd parties for upgrades, modifications or bug fixes, so customers can use latest operating systems without interruption or delay.
Find out more about the benefits of using RME USB Technology
(DURec) - Direct USB recording for all Inputs and Outputs
DURec is an integrated digital recorder for all inputs and outputs directly to USB memory devices via the front USB port. The Fireface UFX+ and Fireface UFX II records on USB thumb drives or hard drives with up to 2 TB capacity. The recording functionality is provided by the internal DSP, and is therefore independent from a connected Windows or Mac computer.
The Direct USB Recording converts the Fireface UFX Series both into a stand-alone field recorder and a powerful multichannel live player for previous recordings, e. g. for virtual sound checks. Live concerts, band rehearsals or spontaneous jam sessions can be directly recorded and played back from the medium - even completely stand-alone without computer or software. All 60 input and output channels can be individually chosen for recording and playback.
DigiCheck - The Secret Weapon of High Resolution Audio Measurements
RME's unique software tool box for metering, testing, measuring and analyzing digital audio streams. 2, 8 or all channel level meters with countless options. Spectral Analyzer, Goniometer and Bit Statistics in professional quality. Even Channel Status readouts are possible. Under Windows DIGICheck also offers a global record function and the direct readout of playback data. Available for free download from RME's Website.
More Info about DIGICheck
SteadyClock FS - Full range capture without Compromises
RME's jitter suppression technology guarantees perfect sound quality throughout, making thedevice completely independent from the external clock signal's grade. Due to the highly efficient jitter reduction, the converters operate as if they are working with internal clock all the time - guaranteeing a pristine sound experience!
AutoSet - Automatic gain reduction and overload protection technology
Usually a limiter is used during the recording to prevent clipping of the A/D converter stage. But analog processing would not only spoil the excellent technical specifications of mic preamps but also alter the original sound.
Thanks to the completely digitally controlled gain, devices with AutoSet can reduce the gain automatically, thus providing perfect protection from overload with no degradation of the audio signal, which does not have to pass any additional electronic circuitry. AutoSet also does not cause any of the control noises known from usual limiters.
Class Compliant Mode - Professional analog I/O connections for iPad
The Class Compliant mode is a standard that is natively supported by operating systems like Windows, Mac OSX and Linux distributions. No proprietary drivers are required, the device will be directly recognized when the CC mode is activated by the button on the front panel.
MADI the Primary Alternative Multi Channel Digital Audio Protocol
RME Audio products are known for their reliability and their unique feature sets. Acknowledged by professional users and hobbyists alike, their digital interfaces and analog converters capture, transport and play back audio with exceptional quality - for which they have received numerous awards. After having also been included in many scientific and industrial applications, RME has set a standard much talked about whenever the focus is on uncompressed, high quality audio.
MADI is a protocol that has evolved alongside RME to be the most widely accepted multi channel digital audio protocol on the market. It has been written for anyone who is new to the technology or who feels the need to know a bit more about how MADI may be used to create or extend audio systems for their specific requirements.
Livestreams with OBS under macOS
Find out how to setup your RME Audio Interface for Live streaming with OBS in combination with TotalMix FX.
Record all Sounds from your Computer
Loopback is a special and very useful feature in TotalMix FX. Find out how to record all Sounds from your Computer.
Installation Guide for Mac and PC
Download and install the latest driver and Firmware Updates for RME Audio Interfaces.
Using RME Audio DIGICheck on Mac
One of the most asked questions from RME users is the correct setup procedure of DIGICheck on Mac computers.
ADI-2 Series new Update
In the tradition of RME's product philosophy, the ADI-2 series received a ton of new features and enhancements over the last three years. Here are some of our favorites!
Check out the Video on YouTube
DAW Setup Guides
Don't miss this Beginners DAW Setup Guides for RME Audio Interfaces, where you can find six different short Tutorials for your favorite DAW of choice.
RME Audio Blueprints
A new series of videos showing advanced Setup examples of external Gear in Combination with RME Audio devices.
RME Accessories
TotalMix FX
SteadyClock FS
Sales & PR Material
Archive RME Audio


Love the plugs. This week coming should be a good one - Hugs (kinda the sequel to Bandits) is reeling in Perth sensation-boi Shazam for a big night this Friday at Nevermind, Sydney. I hear his sets are brilliantly eclectic and he's backed by Kato, Sleater Brockman and my old crush Sunday School. Gogogogo, should be an excellent night with excellent music in an excellent club. ALSO, tomorrow Spank Records and Bang Gang 12 Inches open the gates on a killer remix competition for Aussie producers. The best remix of Damn Arms' latest release 'Destination' wins a shitload of prizes plus has the track released on BG12". Inspect here for more deets and get cracking.
I've got a double pass to Hugs to give away to the first person who emails me answering this brain bending question: "What is your name?" Good luck.
Been treating my ears to the new In Flagranti album which is smoking hot. I'm not a particularly evil guy so I won't post any - sorry - but as a consolation prize enjoy an edit from their latest release on RVNG, a great record which you should buy buy buy! This tune is a nice glammy funked up nursery rhyme (Star Light, Star Bright) designed for some serious disco moves and daring hairdos.
This edit by Loud Minority Radio is also pretty class. At first I'm thinking funky afro-rocking detective who always saves the day wearing colourful flares and a lass on each shoulder. Then throw some vocals in and it becomes a boot wearing power-woman respect drive. Again super retro, super snazzy. Loves it!
I know I've posted the Prins Thomas miks of this big choon, but it's good enough / I'm lazy enough to put the original up too. It's a bit more full on, more stuff going on but still got that huge driving bass groove and percussion that forces you to fidget. I'm not sure why I haven't looked into more Force of Nature stuff actually... Go investigate!
If you're in the mood for something a bit different, check out this awesome African disco set that was posted on Alain Finkielkrautrock. While some of the 'mixing' leaves a pretty nasty taste in my mouth, the music is just delightful. I have to admit I'm not really an African music aficionado (shocked?) and I honestly am not too sure when some of these songs would have been recorded. They mostly sound quite 70s but that's just my weak guess. Anyway, I highly recommend giving it a go!
OK have to go, tata.
Fork me I love Todd Terje. Fiercely. Picked up a copy of the new Dean Meredith (of Chicken Lips, here called Rogue Cat) single with his killer remix on the B side, I must share. When the bass launches the funk busts out and chugs along a solid groove. Really glad to see Tiny Sticks (Mock & Toof's label) is still in operation! The Lindstrom remix is a hair heavier and funkier with a bit more variety and progression. And the Prins Thomas mix is, like the name suggests, orgasmic. Ridiculously hip, Robert Plant samples and all. Lap it up.
And one more for good measure. Beautiful work by Tim Sweeney and Tim Goldsworthy, glad to finally have this one in my record box. This 12" rip seems to be the only one going around and it skips at one point, but I wouldn't be able to get the same sound quality if I did it so... sorry. The B-side, their edit of Superstition by Stevie Wonder, is worth hearing too so buy the record! Ok maybe it's not as good as Terje's edit. Whatever. Stop hassling me.
I figured it was probably (over)time to post some stuff from records I've snagged in the last few months. Last year Eskimo Recordings released a nice compilation of some lovely galactic disco tunes called 'Cosmic Balearic Beats' of which Bottin's track Fondamente Nove in particularly really caught my fancy. Slow, easy going and spacey, it's a perfect warm-up disco track. The comp features killer artists like In Flagranti, Lullabies In The Dark and Cosmo - definitely worth checking out! Future Classic's latest release by Loin Brothers is equally brilliant, though a bit more down to earth. More like in the stratosphere than in deep space. Both are beautifully produced with tasty frilly layers decorating nice thick basslines.
Permanent Vacation is probably still my favourite label at the moment. Picked up some older stuff (2007) the other day which are really delightful. The Steve Yanko track has lots of energy and bounce. I suppose the Antena track does too, bit it's a little darker. I'm really impressed that I picked both these records up recently not really knowing they were two years old, and wouldn't have known they weren't new releases if I hadn't checked. PV always sounds superfresh and groovy. If you're not familiar with their back catalogue, go hunt!
For a bit of classic-influenced sounding disco, this Faze Action number is a winner. Big rollerskates and sequined super-wide flares and fingers pointing in all directions. Moving from 70s strings to 80s wackysynths: Heavy Hitter was one of my favourite tracks on Metro Area's Fabric mix, and this Social Disco Club edit is a beauty. Booming synth drums and parachute pants and video tape and experimental moustaches. Good times.
I don't like posting things that are being smattered all over the blogs, but I'll sheepishly make an exception for these two excellent new cuts. Gigamesh has pulled out a spectacular simple-but-effective remix of Everything In Its Right Place which I'm sure many of you cats have heard. Ever since hearing Josh Wink's remix, which is just a little too chilled to play out, I've craved a clubworthy mix to bust out. Finally the dance angels have granted my wish and this beast is upon us. Also, The Twelves' newish Groove Armada remix is fuucking great. So so tight and upbeat, irresistible on the dancefloor. Instant love.
Catch The Twelves in Australia in May!


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Digital Trends Names Top Games of E3 2017 Award Winners
By Aub Driver	 June 15, 2017
LOS ANGELES, CA., June 15, 2017 – Digital Trends, the leading independent technology publisher, has unveiled the winners of its 9th Annual Top Games of E3 Awards, celebrating the most innovative products showcased at the 2017 Electronic Entertainment Expo in Los Angeles, CA. Awards were given out in six categories with a Best in Show award presented to Nintendo's Super Mario Odyssey.
The Electronic Entertainment Expo (E3) is one of the largest annual gaming events in the world, thrown by the Entertainment Software Association every summer in Los Angeles. Digital Trends sent reporters and reviewers from Portland and New York City to try out all of this year's major game and hardware releases from publishers like Microsoft, Sony, Nintendo, EA, Ubisoft, and Bethesda, along with countless smaller developers and publishers.
"E3 is an amazing event, where the entire gaming industry gathers. It's a blast for our editors to attend," said Digital Trend's Editor-in-Chief Jeremy Kaplan. "Our team has canvassed the expo and with the Top Games of E3 Awards we're excited to celebrate the best games and devices from around the world."
Editors judged award entries on innovation, practicality, and design. Click each category for a full review of the winners. The following are the official winners of the 9th Annual Top Games of E3 Awards:
Winner (Best in show): Super Mario Odyssey
Best Game, Franchise: God of War
Best Game, New IP: Day's Gone
Best Hardware: Starlink
Best Visuals: Dragon Ball FighterZ
Best New Feature or Mechanic: The Crew 2
Best Future eSport: The Darwin Project
Editor's Choice Award: Hunt: Showdown
Editor's Choice Award: A Way Out
Editor's Choice Award: The Sword of Ditto
For interviews, hands-on impressions, and complete coverage of the games you'll be craving in the next year go to https://www.digitaltrends.com/e3/
Digital Trends is a leading consumer technology publisher helping people navigate an increasingly digital world. With easy-to-understand product reviews, entertaining news and videos, Digital Trends serves more than 30 million unique visitors each month. Digital Trends reaches 90 million tech influencers through their own media network, and its syndicate partners include Yahoo!, FOX News and more than 200 broadcast news stations. Digital Trends is headquartered in Portland, OR with offices in New York City, San Francisco, Los Angeles, Detroit, and Chicago. For more information, visit www.digitaltrends.com.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Q: WebLogic 11g startup error I am very new to Oracle WebLogic. I installed WebLogic Server 10.3 using this on Fedora 14 in development mode. After installation it started up first time successfully. But when I try to start it again, it shows the following error and doesn't do anything. Process is stopped here.
Error is:
<Apr 12, 2013 2:41:21 PM IST> <Error> <Coherence> <fedora> <AdminServer> <Logger@9215997 3.7.1.1> <<anonymous>> <> <0000JrxTpjtFw000jzwkno1HPwmR000002> <1365757881226> <BEA-000000> <Oracle Coherence 3.7.1.1 (member=1): Detected soft timeout) of {WrapperGuardable Guard{Daemon=Cluster} Service=ClusterService{Name=Cluster, State=(SERVICE_STARTED, STATE_JOINED), Id=0, Version=3.7.1, OldestMemberId=1}}>

I am not able to resolve and my WebLogic server is not starting. Can anybody please tell me why this problem is coming and what will be solution for this.

A: You can try to stop all Oracle related services/daemons and then start only weblogic, with a script like 'startWebLogic.cmd' or 'startWebLogic.sh'. Wait some time and try to open the console at the browser, usually at the address [code]http://localhost:7001/console[/code], and, when you see that the weblogic is up and running, start all Oracle related services/daemons again.
The explanation is that Oracle stuff eats all memory and the weblogic finds it difficult to start. Let it start first and the open the gates for Oracle stuff.

redpajama_set_name: RedPajamaStackExchange


At Educational Apparel, we work hard to provide outstanding service and products. Items may be exchanged, replaced, or refunded at our retail store, when we bring our mobile store to your school or by mail.
Any item which has not been washed, worn, has the original tags attached and has not been altered can be returned or exchanged for the purchase price. Items with stains, makeup or deodorant marks will be returned to the customer. Refunds will be issued in the same form of payment.
Please include a copy of the original invoice or receipt and indicate reason for the return as well as if a refund or exchange is needed.
Personalized and clearance items are final sale and cannot be returned.
Merchandise which is determined a manufacturing defect may be returned.
Items with normal wear and tear cannot be returned.


As the fog of Auld Lang Syne and bubbly lifts, you may remember that last month in this space we offered up valuable advice about work-life balance from the good folks at Illinois Policy Institute. The underlying idea was that work-life balance policies help organizations attract and retain their most valuable asset – people.
This month we're sharing eight more policies an organization should consider if it wants to maximize staff happiness and performance.
Once again, special thanks to Kristina Rasmussen, Executive Vice President of Illinois Policy Institute, who provided us with these fabulous ideas.
2. Recognition.Anyone who's a fan of The Office is familiar with The Dundies, the quirky and fun staff recognition awards. We have our own –the Institoohties. It's a reminder that we all have something to give and that we all enjoy a good-natured laugh.
3. Get it out. We cultivate a culture of transparency and open dialogue and take seriously confronting gossip and those that wish to engage in "office politics". It's hard to mentally check out of the office after hours if you're caught up in unnecessary drama.
4. Turn it off. Many of us keep working through the evening, but our CEO has made it clear that responses to 99 percent of after-hours emails are discretionary. Unless it is truly urgent, youcan wait until the morning to reply.
5. Say thank you. After the teachers union strike, our team was exhausted. John Tillman took everyone out for a nice lunch (Gov. Quinn happened to be in the same dining room) and gave folks half a day off. He's also known for encouraging happy hours.
6. Office dress. What's better? Sharp capris or cargo pants? Provided the look is polished and professional, can you allow your team to express themselves through their clothes?
7. Use it or lose it vacation policy. This one surprised me. Said a team member: "My previous employer did not have a use it or lose it policy. This meant most of us didn't take vacation days. I think the use it or lose it policy really promotes balance. It insists that you take time with your family, for yourself." We regularly let folks know how much vacation they have left and ask them to use it.
Having heard all of these fantastic ideas, where do you start with your organization?
Kristina suggests a survey. Allow your staff the opportunity to rate and comment on working conditions anonymously. Consider a short survey you can administer online (Survey Monkey, for instance).
So there it is! Go forth and innovate with work-life balance policies! I look forward to hearing your success stories.


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Zimbabwe, Africa
ZIM02d - Fountain of Hope - Mandiva Community Development
ZIM02d
Gideon & Jennifer Chisamba
Completed - Self-sustaining
Community / Agriculture Development, Training / Education
Potential Budget:
ZIM02 , ZIM02a , ZIM02b , ZIM02c , ZIM02f , ZIM02g , ZIM02h
GDP: US$400 per capita
Unemployed: 97.0%
83.0% earn less than US$2/day
150 families are being assisted
40 families are accessing microloans
Mandiva is located in Masvingo province of Zimbabwe, one of worst regions for low rainfall. The rainfall they receive every farming season is well below normal and the soil is very poor for farming which leaves the people of this region in dire need of food almost every year. The people here are battling the odds; arid climatic conditions, constant drought, and limited resources. In addition, HIV/AIDS has also had a huge negative impact in this community with many children being left orphans and either being cared for by very old grandparents or being homeless.
In late 2015 Fountain of Hope Foundation starting assisting the nearby community of Makamure where they have seen incredible results from Foundations for Farming training. They are now looking to expand this training to Mandiva village and in addition to Foundations for Farming training will install a borehole and pump, run a free-range chicken project, set up a feeding/transformation centre where 25 children will receive food on a daily basis, and also provide education assistance for 25 children.
In 2001 Rob Purdue, BHW Executive Chairman, travelled to visit Gideon and Jennifer in Mthombothemba as his nephew was living there. Rob was impressed by them and BHW's Field Director continued to dialogue with them. In December 2012 funds were sent to assist with training some of their people in Foundations for Farming and then late in 2013 BHW commenced partnering with Gideon and Jennifer at a greater level, providing financial support for the Peniel children's home (ZIM02), Mthombothemba community development (ZIM02a), and personal support for Gideon and Jennifer (ZIM02b). Following on from this, in 2015 a community development project in Makamure was commenced (ZIM02c) and then in 2016 a proposal was presented to move into Mandiva village.
There are many beneficiaries here, in fact the whole community benefits from gardens being grown, children being fed, and families becoming self-sustaining and sending their children to school. This type of community development lifts the morale of everyone in the community.
Gideon and Jennifer/Fountain of Hope understand that transformation requires a broad based holistic approach to solving the issues and the starting point has been building relationships with the community. We are encouraged by the commitment of Gideon and Jennifer to Mthombothemba, Makamure and now this community. Their love for these people and their desire to transform these communities is inspiring.
Gideon was raised up in a very remote and poor community. His father died while he was still very young which eventually meant he had to stop going to school while doing Form 2. He hated God then for making his family poor, taking his father away when he was still young, and allowing the school authorities to chase him away from school when he really wanted to proceed with education. However, his friends from school helped him to study from home by bringing their books to him and eventually, although he did not go to school formally like other children, he was able to write his 'O' Level exams and pass all the six subjects.
He wanted to be a teacher but the colleges also wouldn't take him because he had no money. So he again stayed home still with his hatred for God whom he blamed for causing all this. Gideon and his brothers went through very difficult times and one night, Gideon says, "He met me and told me that He died for me out of His Love for me." That night he cried the whole night for it was the first time that he sensed that there was someone greater who loved him. The following day he went to see a Christian friend who helped him to accept Jesus as his personal Saviour. "That was the same day I realized that God had called me to communicate His love to orphans, vulnerable children and the poor."
He then later joined YWAM where he met Jennifer whom he later married and adopted her five children. They live in a rented house outside Bulawayo.
The vision of Fountain of Hope is to communicate the love of Christ to orphans, vulnerable children, downtrodden communities, widows and families affected by HIV/AIDS and poverty by meeting their physical, emotional, social and material needs. They do all that they do to point the poor to Christ, the true Fountain of Hope which never dries up.
In Mandiva village this is done by:
• Running a daily feeding programme for orphans and vulnerable children and providing education assistance for these children
• Providing Foundations for Farming training and farming inputs to families in this community and also setting up a free-range chicken project to generate income.
• Installing a solar powered borehole to provide water both for domestic purposes and also to provide irrigation for the gardens.


These books can help you better understand coding, robotics and what is needed for coding.
From sending messages to creating music, computers are used in many ways. Through fun activities, simple graphics, and clear text, this book shows readers not only what computers are used for but how these different applications work. Readers will also be reminded about responsible and safe ways to use computers.


text:
CIAF 2020
Home » CIAF 2020
Posted By: Jeremy Eccles | Date: April 20, 2020
It's been a trying 3 months for us all " perhaps none more so than the Cairns Indigenous Art Fair, CIAF.
In January we learnt: Following last year's watershed 10th-anniversary celebration, CIAF will return in July 2020 with a contemporary, First Peoples' focus that looks to the environment and its preservation.
The 11th annual iteration of CIAF will be held over five days from Wednesday 8 to Sunday 12 July 2020, delivering visitors and community with a multi-dimensional program of mainly free and ticketed events spanning art exhibitions and markets, music, dance, fashion, food, crafts, theatre, workshops and more.
CIAF's Artistic Director Janina Harding explained that this year's art fair theme, Climate Change, was poignant from a regional perspective and signifies the valuable role art has in making social change and challenging the political dichotomy. There are a multitude of changes to the environment that we have witnessed on our homelands in Queensland and the Torres Strait that we know are related to climate change.
With global warming being a very real issue to Aboriginal and Torres Strait Islander Peoples we are predicting a strong collective response from artists that will be insightful as our land and waters are key to our very existence, Ms Harding said.
Then, still optimistic, in February we were told: The Board of CIAF has announced the appointment of Mr Darrell Harris to the position of General Manager. Mr Harris, an experienced and respected practitioner committed to lifting the profile of Queensland's Indigenous arts and culture, will lead CIAF into a new decade when he commences with the organisation this week.
Mr Harris, a Mitakoodi man, has lived in North Queensland all his life and worked in the Arts industry for the past 12 years in roles that included Executive Officer of UMI Arts and, more recently Manager of Yarrabah Arts and Cultural Precinct. His ironic comment on his appointment: Even more importantly, my role will be to ensure we boost visitation to CIAF.
Oh, dear! For, just a month later, CIAF had to admit, under the wonderful heading, CIAF goes digital to proceed as planned, that the Fair was not going to be able to boost visitation to Cairns after all.
It is our intention to present CIAF 2020 through an online platform enabling our communities, friends and supporters to experience the vibrant and unique Aboriginal and Torres Strait Islander arts and culture of this region. This could include webinar presentations, online conversations and commentary, Chair of the CIAF Board, Tom Mosby said.
Queensland's Minister for the Arts, Leeanne Enoch welcomed the move and congratulated CIAF on an imaginative and exciting solution to continue Australia's premier celebration of First Nations' art and culture.
CIAF's Artistic Director, Janina Harding added that CIAF will do all it can to partner with communities, curators and artists while acknowledging the remoteness of many communities and the enforced period of isolation that will be experienced. We will provide Aboriginal and Torres Strait Islander communities with help, guidance and the means required to offer an intimate digital insight into Country and culture".
And a final flash of optimism in the powers of the digital world forced upon them: An online presence will make for a much bigger global stage and audience providing long term benefits to Queensland's Aboriginal and Torres Strait Islander artists and the CIAF brand beyond what we are currently experiencing, Ms Harding touted.
Meanwhile, the Telstra NATSIAAs due in Darwin in August has revealed there were 238 entries from every state and territory submitted this year and the calibre of artworks was outstanding which made selection a very difficult task. This is the first NATSIAA for the newly appointed Selection Panel which is made up of three arts professionals with expertise in Indigenous art – Tina Baum from the National Gallery, freelance curator and artist, Glenn Iseger-Pilkington and Luke Scholes, Curator of Aboriginal Art & Material Culture at the Museum & Art Gallery of the NT.
"The dates for this year's exhibition are from 8 August until 31 January 2021 (an extended showing, reflective of MAGNT's current financial uncertainty), however, these may be subject to change in response to changing circumstances arising from the COVID-19 pandemic". But, whether the exhibition takes place in situ or not, The development of COVID-19 has necessitated the cancellation of the Award Ceremony that customarily takes place on the front lawn of MAGNT.
An odd decision.
Url: http://www.ciaf.com.au/
Category: Art Fair , Art Prize , Australia , Blog , Event , Exhibition , Feature , Industry , News ,
Tags: cairns indigenous art fair , CIAF , Darrell Harris , Janina Harding , Jeremy Eccles , Telstra NATSIAAs ,
Jeremy Eccles2020-04-20T14:00:23+10:00April 20th, 2020|Art Fair, Art Prize, Australia, Blog, Event, Exhibition, Feature, Industry, News|Comments Off on CIAF 2020


text:
Club sponsors purple out day in support of suicide awareness
photo or infographic by Preslee Wood
WEAR PURPLE FOR SUICIDE PREVENTION. A poster hangs on the first floor, reminding the school community to wear purple. The halls were full of messages of hope and purple streamers on National Suicide Prevention Day.
by Stone Chapman, VOW writer
September 13, 2021|61 Views
EDITOR'S NOTE: If you or someone you know needs help, please contact the National Suicide Hotline or the Tri-County Crisis Hotline. Both take calls and offer help 24 hours a day.
National Suicide Hotline
Tri County 24/7 CRISIS HOTLINE
Socially, high school is hard for a lot of people, whether it be because of their grades, because their best friend did not sit with them at lunch or maybe because they didn't get enough likes on their Instagram post.
All jokes aside, when things get tough there are people to help. Kats Joined for Hope is a club that concentrates on helping people through the tough times. The club is sponsored a purple out day last Friday in support of suicide prevention week because it was National Suicide Prevention Day.
"I want to help spread the message of unity, even if you feel alone," senior Lucero Garcia said. "People need to be more open about it so we can talk to our friends about it and start an intelligent conversation."
People are joining Kats Joined for Hope for a variety of reasons.
"About three years ago someone I was very close to attempted suicide and was unsuccessful," senior Alexandria Johnson said. "I wanted to join because I do not want something like that to ever happen again."
Suicide prevention and awareness in high school is really important, and its a key issue.
"Many kids who walk our halls hide so many things, like people would never know I have anxiety and many other kids in our school do as well," Johnson said. "It is a great program for kids who are quiet and nervous about speaking up about their feelings."
Without Kats Joined for Hope there could be more people in school with bad mental health issues.
"High school can be a very difficult time for a lot of students," senior Misael De Los Reyes said. "I've known too many people that have struggled with their mental health, some even coming close to commiting suicide. I wanted to raise awareness about these very important, but often overlooked issues."
Kats Joined for Hope was started by social studies teacher Andrea Eisinger last year because of a girl named Cassidy Hess who was a victim of suicide at Eisinger's former school.
"Cassidy was a beautiful soul, and there was never any indication that she was contemplating suicide," Eisinger said. "One day she was here, the next day she was gone. I have some sweet, sweet memories of her sitting in the corner desk, painting her nails lime green, unaware that she was also putting lime green in her hair as she brushed it out of her face."
Eisinger was left devastated by Hess's death and decided to do something about it.
"I created Kats Joined for Hope last year to help spread the message of HOPE for those who have been touched by suicide or mental health in any capacity," Eisinger said. "Mental health is my passion, and I've made it my mission to never lose another student to the tragedy of suicide. I started this club at WHS as a small way to spread HOPE."
Stone Chapman, VOW writer
Stone is a sophomore and a member of the yearbook staff. He has a lot of opinions, and loves to share them regardless if anyone asks. He is also a member...
Stephanie Keele, VOW Multimedia editor
Stephanie Keele is a senior and the video editor. She is part of the UIL journalism team. She is a two time cross country regional qualifier. She is a...
Summer Rains, VOW editor
Summer is a senior, co-editor of the newspaper and entertainment editor. She is also a member of the yearbook staff, four year journalism student and two...
Misael De Los Reyes	• Sep 15, 2021 at 9:22 PM
Whoop whoop!
https://wildkats.org/4987/around-campus/club-sponsors-purple-out-day-in-support-of-suicide-awareness/#comment-73


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Dedalus ou Portrait de l'artiste en jeune homme (A Portrait of the Artist as a Young Man), œuvre de James Joyce, est une réécriture presque complète du roman abandonné Stephen le héros, dont le manuscrit original aurait été « détruit » dans un accès de colère pendant une dispute avec Nora Barnacle. Ce roman, largement autobiographique, montre le processus qui permet à un jeune homme d'atteindre la maturité et la conscience de soi. Le personnage principal est Stephen Dedalus, alter ego de Joyce lui-même. On y voit l'apparition de certaines caractéristiques de l'œuvre future de Joyce, notamment l'utilisation du monologue intérieur et l'évocation de la réalité psychique de préférence à la peinture de la réalité extérieure. Le roman accorde une place importante au Clongowes Wood College, établissement jésuite où Joyce fit une partie de ses études, de 1888 à 1892.

Il figure à la  dans la liste des cent meilleurs romans de langue anglaise du  siècle établie par la Modern Library en 1998.

Stephen le héros
Stephen le héros (titre original : ) est une œuvre qui aurait été en grande partie brûlée, lors d'une dispute conjugale avec Nora Barnacle. En réalité, l'œuvre a été reprise, récrite sous une forme plus dense, pour devenir Portrait de l'artiste en jeune homme. Les pages de Stephen le héros qui avaient été écartées de cette refonte ont fait l'objet d'une publication en 1944.

Portrait de l'artiste en jeune homme

Style
Le roman joue énormément sur le discours indirect libre, qui permet au narrateur vraisemblablement extradiégétique de donner un aperçu des impressions et des sentiments de son jeune héros.

Adaptation cinématographique
 1977 : A Portrait of the Artist as a Young Man réalisé par Joseph Strick, avec Luke Johnston, Bosco Hogan, T.P. McKenna et John Gielgud.

Traduction
Une première traduction française du roman par Ludmila Savitzky a été publiée sous le titre Dedalus en 1943. Elle a été révisée par Jacques Aubert sous le titre Portrait de l'artiste en jeune homme en 1992 (Éditions Gallimard). Une nouvelle traduction annotée de Jean-Yves Cotté est parue aux éditions Numeriklivres en 2012 et publie.net en 2013. En 2020 les Éditions du 38 impriment cette traduction.

Notes et références

Liens externes

Roman irlandais du XXe siècle
Roman de James Joyce
Roman autobiographique
Roman paru en 1916
Roman adapté au cinéma
Premier roman
Œuvre littéraire se déroulant en Irlande

redpajama_set_name: RedPajamaWikipedia


text:
Firestone 550 2010 — это четырнадцатая по счёту гонка IRL IndyCar на Texas Motor Speedway, а также седьмаой этап в сезоне-2010. Гонка проведена в субботу, 5 июня 2010.

В четвёртый раз подряд заезд проведен на 228 кругов по 1,5-мильному овалу в Форт-Уэрте, Техас, США.

Права на показ гонки принадлежат американскому телеканалу Versus.

Общая информация

Победитель гонки — австралиец Райан Бриско — одержал свою первую победу за 9 последних стартов (в прошлом году на этапе в Иллинойсе он также сделал дубль (поул + победа)). Бриско также чаще других заканчивал круг первым — 102 раза. Для его команды (Team Penske) это первая победа с этапа в Бирмингеме, в середине апреля.

Для финишировавшей второй Даники Патрик это первый финиш в Top5 с прошлогоднего Ричмонда. Столь же высоко в итоговом протоколе американка последний раз забиралась во время своей победы в Мотеги-2008.

Вторую гонку подряд финиширует в Top3 Марко Андретти — для уроженца Пенсильвании это лучшей достижение за 4,5 сезона в серии.

Впервые в сезоне в тройке лучших на финише сразу два представителя США.

Сверхудачно сложился этап для Andretti Autosport — в семёрке лучших на финише сразу четыре представителя этой команды, в том числе два в Top3.

Впервые с этапа в Лонг-Бич в тройке сильнейших на финише нет ни одного представителя Chip Ganassi Racing, правда в четвёртый раз в сезоне Диксон и Франкитти вместе попали в Top5.

Впервые с начала сезона чемпионат возглавляет не Уилл Пауэр. После худшего в сезоне выступления в Форт-Уэрте его на 3 очка опередил действующий чемпион Дарио Франкитти.

Результаты

Квалификация

R — участник трофея новичков.

Стартовая решётка

Гонка

1 — количество кругов лидировния.

Общий зачёт после этапа

Примечания

Ссылки
 Статистика и результаты на официальном сайте серии

Форт-Уэрт
Июнь 2010 года
Моторные виды спорта
2010
События 5 июня
550


text:
<?php
interface Command{
	public function execute();
}

redpajama_set_name: RedPajamaGithub


text:
Meet WIC education requirements with Help Me Be Healthy brochures. Thoughtfully written and carefully designed, these 12 brochures sequentially focus on the needs of prenatal and postpartum mothers, infants, and children through age five.
Key features of the brochures include:
updated photographs of children and caregivers of different ethnic backgrounds
first-person phrasing ("I want to be active!") to engage caregivers in dialogue
professional graphic design uses type, color, and positioning to emphasize key messages
key points for parents and caregivers are written in concise sentences
reflects current USDA dietary guidelines
includes complete USDA non-discrimination statement
Standards and best practices
The key early childhood topics presented in these brochures are based on national Early and Periodic Screening, Diagnosis, and Treatment (EPSDT) standards. The brochures were developed by Mary Dallavalle, retired State Nutritionist of the Maryland WIC Administration, and updated by Cristy Sellers, Nutrition Education Coordinator of Arkansas WIC. These materials are recognized as a Best Practice by the USDA, and are copyrighted. The brochures teach issues at age appropriate times within the eight selected age ranges. Topics include:
Reading readiness
Childhood obesity prevention
Food and nutrition — based on the current USDA guidelines
Behavior and developmental skills
Communication and language acquisition
Easy to read and understand
We're proud to provide the following table showing statistics derived from several recognized measures of readability or reading-ease. We believe that everyone deserves the best information about maintaining and improving their health, and that of their infants and young children. Help Me Be Healthy delivers on that promise.
About the Flesch Reading Ease Readability Formula
The Flesch Reading Ease score is acquired using a specific mathematical formula that takes into account average sentence length and the average number of syllables per word. The result is a number ranging from 0 to 100. The higher the number, the easier the text is to read.
Scores between 90.0 and 100.0 are considered easily understood by an average 5th grader.
Scores between 60.0 and 70.0 are considered easily understood by 8th and 9th graders.
Scores between 0.0 and 30.0 are considered easily understood by college graduates.
About the Flesch-Kincaid Grade Level
Flesch-Kincaid grade levels correspond to US grade levels. A grade level of 4.0 would mean the average 4th grader could read and understand the work. (In theory, F-K grade levels can go as low as -3.4, though this is both unlikely and probably misleading.) The grade level is determined by the number of words in the sentences and the number of syllables in those words. Since a good deal of the HMBH brochure information is presented in table format rather than sentences and because the words in those tables tend to be only one syllable long (e.g., bread, eggs, yogurt, etc.) the scores are quite low.
About the Fernández Huerta Reading Test
This Spanish language readability test uses a scale similar to Flesch Reading Ease, where a score of "0" is the most difficult and a score of "100" the least. In more detail:
Scores between 0.0 and 30.0 are considered very difficult — university level.
Scores between 30.0 and 50.0 are considered difficult — grades 13 to 16.
Scores between 50.0 and 60.0 are considered relatively difficult — grades 10 to 12.
Scores between 60.0 and 70.0 are considered normal — grades 8 to 9.
Scores between 70.0 and 80.0 are considered relatively easy — grade 7.
Scores between 80.0 and 90.0 are considered easy — grade 6.
Scores between 90.0 and 100.0 are considered very easy — grade 5.
Customized to fit your program
All brochures are available in English or Spanish.
We save you administrative time by shipping materials directly to multiple offices throughout your state, territory, or nation.
info@helpmebehealthy.net
First, please input the following code.
Site by Evergreen & Co


This one by Katie G. really hit some points that the President was making regarding Q, etc., in the El Paso rally, and relates to this recent post. I felt she did a marvelous job of finding and highlighting all of the connections. . https://youtu.be/PInpDeOIhKA..


text:
Dread Central
is creating horror movie news, reviews, podcasts
Dread Central has always been a family endeavor. We're a mom and pop shop to the greatest extent. We've made it 10 years with absolutely no help from anyone. No parent company. Nobody watching our backs. It's with a great deal of humility that we say we think we've become a cornerstone within the genre. And that's because of you guys. It's you, the talented creators out there, the readers, and the close friends who have lifted us up when we were down, who have allowed us to do what we do for this long; and words cannot describe how grateful we are to each and every one of you. We will never forget this time... these past few years.
That being said... we know this news that Dread Central needs your patronage may be a shock to you. Hell, it's a shock to us. Unfortunately, after dealing with a perfect storm of sorts where everything has either changed abruptly or just not gone our way, we find ourselves still standing, but on our last legs.
Even though our site is doing great traffic-wise, advertising dollars are shrinking more and more every month. These changes are largely beyond our control and have hit the entire online publishing industry hard. Quietly many sites have been absorbed into parent companies, filed for bankruptcy, or have closed for good. Even sites that get 10x our traffic have felt the squeeze, laying off writers or in some cases turning to crowdsourced content and paying far below industry standards for articles.
This is the tipping point. Ad-supported websites are on the way out. We have staved this off for as long as possible. We are tired of running click-bait stories, of making multi-page galleries, of having to put revenue concerns ahead of the user experience.
We are hoping that moving to a reader-supported model will allow us to bring fans and filmmakers the kind of site they deserve. And allow us to continue to grow the site and create original content that celebrates the genre we all have come to love.
It's a scary prospect. People may not be ready for this. Everyone is used to things being free on the internet, but few realize how much time and money goes into running a website. With mounting costs and an ever-increasing demand for original, in-depth content, being shackled to an ad-supported model that is offering publishers less and less is not a sustainable plan anymore.
Patreon will allow us to reward our friends and readers who support our site. Those who choose to support Dread Central on a monthly basis can contribute as little as $1 a month and be rewarded and recognized for their contribution.
We've launched this Patreon initiative, which will let our patrons get Dread Central ad-free with no click-bait for just $1 a month / $12 a year. We don't want to sell out to a company, but rather to the fans and the industry itself.
At the end of the day we remain hopeful that we can actually come together and make this work. We don't know where our future lies, but we do know what we'd like to be doing now, and that's bringing you all the content you want - THE WAY THAT YOU WANT IT.
We love you guys, and we mean that. It's been a hell of a ride and we hope it continues. This is new territory for us and everyone. But that's what we do... we get back up and we keep fighting. One way or another.
Thank you so much, so very much for your time and consideration.
Ad Free Dread Central
NO MORE ADS. The Desk-top site will run as intended and you'll also be getting a clean mobile-friendly interface whenever you need it, wherever you are. This money goes to server costs and keeping the lights on. All patrons will be recognized and thanked on a special area of Dread Central for as long as our doors are open.
In addition to that all patrons will be INSTANTLY entered into all Dread Central contests. You don't have to do a single other thing other than be signed up at the one dollar tier.
Ad Free Plus Your Say!
All of the above, plus get exclusive early access to all of our podcasts, exclusives, and featured video content. Patrons will also be able to vote on new designs for the site and what content we cover.
Sticky Situation!
All of the above plus you'll be sent a vinyl Dread Central window decal*. You'll also get access to a Patreon exclusive message board for you to chat with other horror fans in.
(*Product will be mailed after the first month you subscribe at this level - one time only. Please allow 3-to-4 weeks for shipping).
Horror on Demand
All of the above plus you'll be sent a redeemable coupon (up to $5.00) to rent and watch a new horror movie monthly via select services like Amazon Instant and iTunes!
[Product will be mailed after the first month you subscribe at this level - one time only. Please allow 3-to-4 weeks for shipping.]
Dread Central "Wearwithall"!
All of the above plus you'll score a Dread Central T-Shirt via RottenCotton.com.
[Product will be mailed after the first month you subscribe at this level - one time only. Please allow 3-to-4 weeks for shipping.
Be sure to include a shirt size somewhere in the address you provide!]
Pin-up Hotness!
All of the above plus you'll be getting an exclusive enamel pin! The pin pictured above was the design we did for our 10 year Anniversary. Patreon supporters will get a special design all for themselves!
Open The Box!
$100 or more per month
All of the above plus you'll get one month of Box of Dread FREE along with a Box of Dread store coupon!
Join $100 Tier
In the Bag!
All of the above plus you'll get a Dread Central Tote bag to carry everything in!
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WHAT WOULD YOU LIKE? You get everything from above, PLUS - well ... for $1,000, why don't you just tell us what you want? Within reason of course. We'd preferably not break the law.
Join $1,000 Tier
$422 of $500 per month
This goal directly covers the current cost of the server hosting the website. As a website grows in popularity so does the cost of the hosting. More visitors requires more speed and memory to run the page.
Recent posts by Dread Central


text:
Photo by Andrew Kim
[email protected] – Studies Project: Creating the Score
mayfield brooks
Ishmael Houston-Jones
Jennifer Monson
Angie Pittman
Kayvon Pourazar
This Studies Project considers the questions, goals, and strategies behind different kinds of scores for dance performance, research, movement invention, and other forms of investigation. In describing the trajectory of a score from design to activation, panelists will confront a range of questions: What are dance scores, and how are they used to make dances? How are they constructed and designed? How are they articulated and translated to dancers? Are they works of prose, poetry, or both? Are they possible to achieve, or purely aspirational? Are they meant to be adhered to, or should they be abandoned once employed?
Panelists include mayfield brooks, Ishmael Houston-Jones, Jennifer Monson, Lisa Nelson, Angie Pittman, and Kayvon Pourazar.
Register and learn more about this event on MoMA's website here.
mayfield brooks improvises while black, and is currently based in brooklyn, new york. mayfield is a movement-based performance artist, urban farmer, writer, and wanderer. they studied contemporary dance at the school for new dance (sndo) in amst...
Ishmael Houston-Jones is a choreographer, author, performer, teacher, and curator whose improvised dance and text work has been performed world-wide. In 1984 Houston-Jones and Fred Holland shared a New York Dance and Performance "Bessie Award" f...
Choreographer, improviser and teacher, Jennifer Monson is the founder and artistic director of iLAND-interdisciplinary Laboratory for Art, Nature and Dance and a Professor of Dance at the University of Illinois, Urbana Champaign.
LISA NELSON is a dance-maker, improvisational performer, and collaborative artist who has been exploring the role of the senses in the performance and observation of movement since the 70s. From an investigation of video and dance, she developed...
Angie Pittman is a New York based Bessie award-winning dance artist, dance maker, and dance educator. Her work has been performed at The Kitchen, Gibney Dance(Invocation, Proclamation, Manifesto), BAAD! (BlaktinX Performance Series), Movement Re...
Kayvon Pourazar is of Persian origin, and spent his formative years in Iran, Turkey and England. Kayvon immigrated to the US in 1995, graduated from SUNY Purchase in May 2000 and has resided in NYC ever since. He has performed in the works of Mi...